Thank you to Carl Knauf for this excellent review of The Ruined Man and The Dark Goddess!
Read it all via Writers’ Block
Find out why Albert Caine has a severed head in his refrigerator. Read Blood and Lust for free from Michelkin Publishing!
My new book, The Dark Goddess, drops Friday, January 19! In anticipation of that glorious event, I am giving away two signed copies of The Ruined Man. If you haven’t read it, now is the chance to plunge into the gritty world of Victor Wolf for free! If you have read it, you can have a copy to share with friends or family!
Entry is easy. Just click on the link below and get started!
And don’t forget to preorder The Dark Goddess on Amazon!
After the excitement from “The Saga of Shamus” died down I took a step back and decided to work on my craft. Learn how to smith the words better. To accomplish this, I started writing short stories like a mad man. This was a relatively new field for me. Until then I had mostly written plays and novellas. I had just moved to Albuquerque and me and my friend Brandon would spend our weekend mornings writing. And believe me, I wrote. And wrote. And wrote. I churned out at least one short story a week for a weeks on end. Most of these stories were garbage and will never see the light of day. I collected my favorites and self-published a collection called “Twisted Yarns.” I know what you’re thinking. Why would I self-publish again? What would possess me to want to undertake that exercise in humility again? To be honest, I was getting discouraged. Because even though I was churning out garbage short stories at a record pace, I couldn’t find anyone to publish them. Most of the stories I wrote were too long for the word counts of these publications. Flash fiction was really big at the time and everyone thought that if you couldn’t tell a story in under 1000 words, it wasn’t really a story. I don’t write 1000 word short stories. Hell, I don’t even write 3500 word short stories. My short stories start at 7500 words and usually top out somewhere around 10k. And the few places that did accept lengthy stories gave me nothing but encouraging rejections. If you’re a writer, you know the kind.
“Great story, but not what we’re looking for right now.”
“Really enjoyed the story, but doesn’t fit our issue. What else do you have?”
And so on and so forth. Over and over again. One rejection after another in a constant flow of bad news. After a while the ego takes a hit. After a while you start asking yourself questions and doubting yourself and your talent.
One of the stories to come out of this frenzy of writing was the original short story version of, “The Ruined Man.” The story actually followed the events of the upcoming book 2. I sent a copy to my old creative writing professor and he got back to me the same day with, “Turn this into a book! It NEEDS to be a book!” So that’s what I set out to do.
Turning a short story into a full-length novel is no easy feat. I’ve heard it said they are two separate modes of writing. A short story is like a passionate kiss from a stranger. It is fast, unexpected and leaves you breathless and wanting more. Whereas a novel is like a love affair. It’s slow, develops over time and is chock full of emotional highs and lows. So the trick was how to turn a passionate kiss into a love affair. I decided to start at the beginning, like all good love affairs. I told the story of how Victor Wolf became the Ruined Man—a story that ended up beginning 15 years in the past. The story, which ended up being book one, “The Ruined Man,” flowed out of me as if Wolf was telling it to me over afternoon coffee. Before I knew it, I had completed the Purple Gates story and had to move on to the second half which covered the events in the short story. Turning that into a love affair was difficult and took years. Literally years. The few query letters I did send out about The Ruined Man were met with rejection (surprise, surprise). Even after the discouragement settled in and I quit writing, I would still go back to Wolf and tinker around with the novel. It soon became a monster. A monster that I loved like a child. A beast I wanted to protect from the slings and arrows of all the nasty assholes rejecting my work and chipping away at my self-esteem. So I kept the book locked away in the fortress of my hard drive like the electronic manifestation of the Man in the Iron Mask.
Eventually, I quit looking at it altogether. Because I had finally had enough. Enough rejection. Enough criticism. Enough ridicule. Enough hearing loved ones talk about how I needed to “find a real job” and leave this writing thing behind. Those of you who know me know how huge this decision would be for me. All I ever wanted was to be a storyteller. Period. From the time my imagination started imagining I was making up stories. There is nothing I love to do more than get lost in my imagination and find a story there to share with others. I had spent years of my life not listening to all the naysayers. My high school teachers begged me not to be a writer. My college professors begged me not to be a writer. My parents REALLY begged me not to be a writer.
“There’s no money in it.”
“You’ll be poor your whole life!”
“Nobody respects writers! They are slackers and miscreants!”
I ignored them all and pursued my dream only to find out they were right. As I said in my last blog, I was one voice in a cacophony of thousands trying to get heard. Few people listened. Fewer cared. Everybody wants to be a writer but nobody wants to read. I was discouraged, disgusted and frustrated and I was getting real tired of rejection. So I decided to leave it behind and get a job in IT. There is nothing more soul-crushing than giving up on your dreams. Very little else will take the light from your eyes and the life from your step like losing a piece of who you are. But I had to. I couldn’t take the pain any more. I couldn’t take the feelings of inadequacy and worthlessness. I couldn’t take the smoldering disappointment I felt radiating from everyone around me. I had been defeated. So I stepped back and “gave it to God.”
I felt it leave in that moment—the fire I had kept stoked for years just didn’t die, it was snuffed out. As my imagination dimmed, a sharp pang stabbed my heart. It felt exactly like breaking up with someone. The loss was immense.
Franz Kafka said a non-writing writer is a monster courting insanity. Franz Kafka knew something about it because I learned the truth in that statement pretty quickly. My whole life I used writing to process the world around me. The stories, poems, plays and essays I’d written were fueled by a myriad of emotions. But that was gone now. I didn’t have an outlet for creative expression. Those were dark days.
During the summer of 2016 I came across Michelkin Publishing’s call for submissions. They were an indie house out of New Mexico and they were seeking local writers with books about New Mexico. Bonus points for magical realism. My thoughts immediately went to The Ruined Man, but I quickly pushed it back. I had quit writing. I didn’t want any more rejection. I gave it to God and He decided to keep it. All my passion for writing was gone. But I kept going back to it for days. Finally I relented.
“It’s no big deal,” I convinced myself. “You haven’t gotten a rejection in years, you can handle at least one. It doesn’t even matter. It’s not like you’re a writer anymore, anyway. Accepted or rejected, it’s all the same now. Besides, it’ll be rejected for sure. No doubt.”
So I went to Michelkin’s site and filled out the submission form and included a summary of my monstrous word-baby. I clicked send and was hit with a brief spike of excitement that was quickly dulled over. Then I waited. Waited for the rejection I was sure would come.
“Dear Mr. DeGray,
Thank you for your submission but we can’t find room for you right now.
Every publisher or agent ever”
The morning I got the email from Michelkin’s publishing department that’s what I expected it to read. But that’s not what it said. They actually said they liked the summary and wanted to see the first 50 pages. I couldn’t believe it. I was shaking as I dove into the electronic dungeon of my hard drive. My heart pumped wildly as I opened the key and let my Monster in the Iron Mask see light for the first time in ages. I spit-shined the manuscript and sent them what they asked for. Then I waited again.
Months later I got another email. Again, I expected this to be the one where they thanked me for my time but they had decided to pass. Again, not what happened. They felt the first 50 were solid and wanted to see the whole manuscript. I almost cried. No joke. I spent the weekend polishing up my beloved brain-child and sent it off to them. And then I waited.
By this time I was getting anxious. It was December now and I hadn’t heard a thing from them since the end of September. I was convinced they hated it and hadn’t gotten around to sending me the rejection yet. I tried not to care, but the fire had been sparked inside me again. It burned with a tiny flame. Like a tea light–a miniature flicker of light in a sea of dark hopelessness. It was fragile and I knew that this rejection would snuff it out for good. I couldn’t help but wonder if that was the cosmic plan behind it, the killing blow that would ensure I would never get back up. And then it came.
December 10, 2016 I was at my niece’s birthday party when I got an email from Michelkin Publishing. My throat instantly dried and I was hit with a rush of excitement. I took three deep breaths and returned to the party. Later, after I had gotten home, I paced around for at least an hour terrified to open the email. Finally, I steeled my resolve and read the email.
They said they’d be happy to publish my manuscript. In two books. I cried. No joke. And that tiny flame suddenly grew into a blazing beacon.
And now, six months later, my first published novel is actually out. It feels great, I can’t lie. It’s blissful to no longer be a monster courting insanity. All dreams are worth living. That’s what I took away from this adventure in publishing. No matter who you are, no matter what your secret dream is—live it. Don’t let the wet blanket of hopelessness put out your fire. Don’t let the criticism and disapproval of others guide the direction you take. It is YOUR life, after all. You are the one who has to live it, so live it well.
With my new book, “The Ruined Man,” coming out Friday I got a little nostalgic for my journey as a writer thus far. And though “The Ruined Man” is published by Michelkin Publishing, I started out in the self-publishing world over 10 years ago.
I began my journey into the publishing industry in 2006. I had written a book called, “Absolutely True Retellings: The Saga of Shamus.” It was a YA fantasy adventure heavy on the social satire. A lot like Gulliver’s Travels by Jonathan Swift. I wrote the entire thing out on legal pads sitting at coffee shops in Lubbock, Texas. I still write like that to this day except I write at coffee shops in Albuquerque, New Mexico.
Shamus was the first novel I ever completed and as such, I thought it was one of the best stories ever told and I wanted the entire world to read it and love it as much as I did. I tackled the daunting task of copying everything I’d written into Word and passed it along to an English professor friend to edit it down.
After that I tried tackling the even more daunting task of finding a way to publish my book and get it in the hands of readers the world over. Now keep in mind this was the end of 2006 and the first half of 2007. The publishing industry looked quite different than it does today. Self-publishing was basically unheard of and no one in the legitimate publishing industry took it seriously. I attended seminars where I was told by agents and editors that if I decided to self-publish I would never be taken seriously in the publishing world. In short, I’d ruin any chances I had of becoming a traditionally published author.
Needless to say this terrified me. I immediately began researching how to get an agent, write a query letter and all the other hoops you have to jump through to go the “traditional route.” As I said before, the publishing industry was very different ten years ago. Readership was declining and ebooks hadn’t become popular yet. As a result most of what traditional houses were publishing were novels ghost written for celebrities and books about wizards. To complicate things further, traditional publishing houses weren’t taking on new writers like they had in the past. They tended to view unknown authors as a liability and any money spent on them was wasted. It didn’t take long to realize that even if I were to get the attention of an agent or the Big 5, they weren’t going to pay much, if any, attention to me. Marketing, promotion and getting people reading my book would all fall on me. So I said, “Fuck it.” If I had to do it all myself, I was going to do it all myself. I was done wasting my time trying any of the traditional methods of publishing either mainstream or independent.
Still put off by the stigmas of self-publishing, I started looking into vanity publishers and hybrid publishers. For those who may not know the term, a vanity publisher is a book publisher who will turn any manuscript into a book regardless of content or quality. A hybrid publisher combines elements of traditional publishing with vanity publishing. In both cases the services offered carried a hefty price tag that more often than not rose into the $10,000 range after editing fees, formatting fees, layout fees, cover design fees and a marketing package that was tagged on with the promise of helping you “promote your book.” These promotional packages mainly included kitschy bookmarks, flyers, fact sheets and the guarantee that the company would send a press release via spam mail to anyone on your contact list. I waded through countless offers from vanity publishers until I happened across a supposedly legitimate hybrid publisher called, BookPros.
Word on the web was that BookPros would only take on your project if they felt it was high quality and commercially viable. I submitted my manuscript and waited to hear from them. A BookPros representative called me a few weeks later. They told me they loved my manuscript and wanted to get started working on it immediately! I was stoked. I was elated. I was above the moon. The president of the company even got in on the call and told me what a wonderful author I was and that I was brimming with potential. I mean, what artist doesn’t want to hear that? BookPros went on to inform me that they worked closely with a professional marketing firm to promote myself and my book. I would be flown to their offices to undergo media training and the whole bit. At this point I was nearly in tears. This was everything I had been waiting to hear. Every naysayer could suck eggs, all my self deprecation would vanish in the presence of this all-powerful validation I received. My ego, properly inflated by all the flattery, agreed instantly. Then they told me all this could be mine for the low, low, discount price of $12,000. Didn’t take me long to say, “Forget that bullshit,” and resign myself to self-publishing.
Those early days of self-publishing were exciting and filled with promise, like when the bell rings on the last day of school and a summer of endless possibility is just over the horizon. And believe me, the self-publishing sites creeping around at the time were definitely taking advantage of the doe-eyed authors lining up to be the next big thing. Because that’s what they were promising—no “promising” isn’t exactly the word. They never actually told anyone they were guaranteed to be a best seller; they just failed to correct everyone’s false impressions and hopeful delusions.
Back then, we thought that if we published through a self-publishing imprint like Authorhouse or Xlibris that our books were going to end up on the shelves of every bookstore from one coast to another. Our books would be on the shelves next to Stephen King, Clive Barker, James Patterson and Michael Crichton. We thought we were going to be able to proudly tell everyone in our lives, “I published a book. And you can go to Hastings (God rest its soul) and pick up a copy!” We were wrong. Utterly and completely wrong. It came to light much later that few, if any, self-published books actually made it off the publisher’s website. Oh sure it was listed on Ingram and available for bookstores to order, but we didn’t understand what this meant. We didn’t realize that our books were being listed with everyone else’s books and that a floodgate had been opened, flooding an already struggling industry with thousands upon thousands of new books to choose from–most of them unedited, horribly formatted drivel with a terribly designed cover carrying price tags anywhere from $10 to $30. That was another thing we didn’t “get” at first. These self-publishers allowed us to set our own price and determine our own royalty payments. So the higher the cost, the more royalties we would receive. Have you ever seen a horribly designed paperback weighing in at 300 pages with a $30 retail price? I have. I’ve seen hundreds. Guess how many of them are the next big thing?
After the truth about self-publishing came out the industry got an even worse reputation. All the wannabe authors took it personally and believe me, we were furious. Self publishers were likened to charlatans selling snake oil and empty dreams. And in their ivory towers, the Big 5 sat smirking, thinking they had weathered the storm and would once again rule the roost. Turns out they were wrong, too. But hindsight is always 20/20.
During all of this, I chose Lulu as my self-publishing provider. Back then, they didn’t seem as plastic as the other self-publishing sites. They also had rigorous standards for including books on their global distribution lists. Authors could publish anything they wanted on Lulu’s site, but if it was going to Ingram it had to be considered “industry standard.” I had to submit my book for approval and have it evaluated. This added a level of legitimacy I felt the other places lacked. So I began the laborious process of putting together an industry standard book.
At the time I was working as an ISS teacher in Lubbock which afforded me ample time to work on formatting, editing and designing The Saga of Shamus. I worked on it for at least 8 hours a day for six months straight. When I wasn’t working on the book I was researching industry standards and practices trying to figure out how to get seen in the flotsam of self-published garbage that had washed up on literature’s shores in the past few years. I was proud of my book, after all. I still am I believed in it. I thought it was worthy of recognition (and I still do). I wanted to find some way—any way—to get it in the hands of people who would read it. Social media really wasn’t a thing yet so I had to get creative with my promotional opportunities. Naturally, for an author, the first thing that comes to mind is a book signing.
Alas nothing was sacred in the self-publishing industry and seemingly overnight it was awash with authors clamoring to do book signings. You couldn’t walk into any Hastings (God rest its soul), Barnes and Noble, Boarders or even down the hall of a shopping mall without coming across a self-published author peddling his books. So I jumped right in and starting slinging books with the best of them.
That experience was…ultimately an exercise in humility. People walked by purposely avoiding eye contact as if I were a bum asking for spare change. The few that did stop did so out of pity or mild interest as if I were a disabled bum asking for spare change. And the rare few who left the table with a copy usually ended up leaving it elsewhere in the store as if I were a Jehovah’s Witness handing out Watchtower pamphlets.
But that’s not to say all of it was bad. Sitting at those folding tables with copies of my book fanned out before me filled me with pride and even a sense of accomplishment. I had done what I set out to do. I self-published an industry standard book. I took control of marketing and promotion, and even if it weren’t some nationally recognized book tour; I got out there. I met people, talked to them, told them my story and did it all with a smile on my face.
My best book signing event took place in Datil, New Mexico of all places. Datil is so small that calling it a town is being dishonest. Most of the people in the area are ranchers and live a much slower paced life than their city dwelling brethren. I had gotten some illustrations done for Shamus by an artist who was from the area. When word got out that she had done illustrations for my book, the library emailed me and asked if I would be available to do a signing during their upcoming library hootenanny. I readily agreed. It was an experience unlike any other. There were more people there and interested in my book than at all my other events combined. I sold all the copies of my book that day while a band played country music in the next room. I even received my first fan gift: a small pink elephant made of glass. The context makes perfect sense if you’ve ever read The Saga of Shamus (hint, hint).
To be able to move a complete stranger with something I’d written made the struggle worth it. In the end, that’s what I took away from my adventures in publishing Shamus. When you really get down to it, we aren’t writing for ourselves. We are writing for the world. For our audience. And when we meet that audience face to face and interact with them–when we see the admiration and appreciation in their eyes a writer can’t help but walk away thinking, “I did something right. Something good. Something other people enjoy and are inspired by.” And that, friends, is what it is really all about.